Processing Creativity: The Tools, Practices And Habits Used To Make Music Youre Happy With

Processing Creativity: The Tools, Practices And Habits Used To Make Music Youre Happy With

by Jesse Cannon

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Every musician says that being creative is the most important part of their life, yet they barely explore what's holding back them back from making music they are happy with. When trying to navigate the ways our creative endeavors fail there's no YouTube tutorial, listicle or college course that can help you navigate the countless creative pitfalls that can ruin your music. If you've had trouble getting your music to be as good as the musicians you look up to this book can help you understand the practices they use to make their music so great.

After writing one of the most popular books on the music business, Jesse Cannon decided to write about the only subject he knew even more about; helping musicians fulfill their creative vision. With credits that include The Cure, Animal Collective, The Misfits, Dillinger Escape Plan and The Menzingers he's credited on thousands of albums from helping musicians reach their creative vision. With the intent of crafting a book that exposes life-changing knowledge that can be read in under a day he crafted a book that would instill the essential knowledge he helps bring to musicians each day. Writing a short, detailed read that will leave even the most advanced creators with a new perspective on how to make music they're more happy with.

While there are no rules to being creative, there's research and considerations that can help you make better decisions, get past the breakdowns in your process and enhance the emotional impact your songs have on others. Detailing the essential ideas on creating music in a simple, fun language that's littered with quotes and insight from the most innovative creators of our time that discusses subjects like:

How to make music that's highly emotional that makes listeners compelled to listen again and again.
Effectively dealing with collaborative problems like "too many chefs in the kitchen," giving helpful criticism or dealing with stubborn collaborators.
Finding inspiration to develop it into music that's uniquely your own.
How to draft your songs while avoiding the common pitfalls of losing perspective and giving up.
The unexpected reasons we enjoy music.
Calming your thoughts so they don't sabotage your music and other helpful tools to help execute your music as best as possible.
Whether you're a music fan, producer, songwriter or musician there's no book with more helpful ideas that can help make every song you make in the future better.

Product Details

BN ID: 2940157474225
Publisher: Noise Creators
Publication date: 01/23/2017
Sold by: Barnes & Noble
Format: NOOK Book
File size: 259 KB

About the Author

About Jesse Cannon

I somehow got my first work being paid in the music business when I was 15. Since then I’ve managed to work in nearly every facet of the music business. If a stranger happens to know who I am, they usually know me from being lucky enough to have worked on records in various capacities with bands like The Cure, Animal Collective, The Misfits, The Dillinger Escape Plan, Brand New, Limp Bizkit, Man Overboard, Somos, Basement, NOFX and The Menzingers. I'm also known for writing the book Get More Fans: The DIY Guide To The New Music Business, which has gone on to be one of the most popular books on the music business. I also host two podcasts, Off The Record and Noise Creators and write articles on the music business for various sites like Alternative Press and Party Smasher Inc. along with a handful of others.

But that doesn’t explain how I got to do all of that and that's what I'm supposed to explain here. When I was barely a teenager I started to get paid for doing live sound at concerts and spoken word events. Two years later, a hilarious and fun guy by the name of Stork liked my mixes and invited me to engineer live performances at the world-renowned freeform radio station WFMU. There I was lucky enough to work for nearly a decade recording acts like The Magnetic Fields, Spoon, The Sea and The Cake, Olivia Tremor Control and a couple hundred others. Because of this I started doing live sound at local clubs The Pipeline and Connections. In time, I started booking shows for the company that booked those clubs and the legendary Coney Island High in NYC. Somewhere in this time I got my first credit on a record singing back up vocals on a song with Joey & Dee Dee Ramone, which I still question if I've ever topped.

Those jobs gave me enough courage to put on my own concerts, and be crazy enough to think I knew what I was doing enough to start recording local bands. But all of this would happen at night, so I needed a day job. I then started working at my local punk record store (Let It Rock), which then qualified me to work at Soapbox Records on St. Marks Place in NYC. This was great since it also housed esteemed indie label Go-Kart Records where I ran the record store and did publicity. While I love marketing, PR is way too social for me and I preferred talking to creative people instead of cranky zine editors. I was also writing for the esteemed zines of the day like Tape Op, Punk Planet and Maximum RockNRoll. So

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